I’ve been working up arrangements to record some jazz standards and, after reading Cindy Cashdollar’s remark in an article that there’s not much bossa nova steel out there, I thought “Hey, what about doing ‘Wave’ by Antonio Carlos Jobim,” a longtime favorite of mine. Here’s a short song sketch I did to work up the head and some improv figures.

Thank you, Keith and Andy. I love the groove of that song; I tried to find the pocket just a hair behind the beat to get a laid back, relaxed feel.

I like your arrangement Andy - especially how it goes up an octave and uses some chord melodies in the second chorus to capture the fuller range of the guitar.

By the way, was it in your interview of Cindy Cashdollar that I read her comment about bossa nova steel??

Andy Volk

From:Boston, MA

Posted 20 Jun 2019 9:57 am

Yes, we've talked about it in several interviews for my book and magazines going back to 2003. She and Redd Volkaert worked up a few duo Bossa tunes but it never went anywhere. I love the genre and Cindy would sound terrific playing 'em._________________Steel Guitar Books! Website: www.volkmediabooks.com

Nelson Checkoway

From:Massachusetts, USA

Posted 20 Jun 2019 12:33 pm

Yeah, it's curious that we just don't hear much steel connected to Latin music in general. Boo Bernstein comes up when you look for pedal steel in Mexican and Latin American music--he's a great player all around--but you don't hear much non-pedal or lap steel in those styles. Mike Neer has posted a beautiful version of This Masquerade, which has a samba feel to it. Maybe he's doing a version of Song for My Father in his Horace Silver exploration--not sure--which, again, has a Latin percussive vibe. Bossa and Latin jazz is probably the nexus where steel would feel most at home in a Latin setting. Actually finding the Latin/rock nexus would be fun--steel arrangements of early Santana songs like Oye Como Va or Samba Pa Ti could sound great.

Mike A Holland

From:United Kingdom

Posted 21 Jun 2019 4:18 am

Very Cool arrangement and playing Nelson!
https://www.youtube.com/watch?v=8AFsCh5VKuE
Hi Andy.......I played a version of your "Wave" arrangement when you posted it somewhere with the backing track. Hope you don't mind me putting the link here!
I agree with the consensus that there is not enough latin Steel guitar around!
Mike

Andy Volk

From:Boston, MA

Posted 21 Jun 2019 5:51 am

Don't mind at all, Mike. I've made some minor changes to the version on the website. Nice job. Those Santana tunes would be great on lap steel, Nelson! I've played Oya Como Va in C6th with a YouTube jam track and it works well. I recorded One Note Samba long ago but can't find the audio file. Here's how far I got on How Insensitive before I ran out of steam. I was trying to keep the bossa nova comp pattern going. Haven't check the music notation as I last worked on this about a year and a half ago ...

Now we've got some latin and bossa steel coming out of the woodwork!! Nice playing, Mike -- The big vibrato at the end of your phrases works so well and imparts that traditional lap style. And Greg, beautiful performance on Corcovado! I wouldn't immediately associate the sound of a resonator guitar with this style, but you show how it's a perfect fit-- with a samba feel that one might associate with a classical/nylon string sound. In fact, some of these songs could sound great played as a classical guitar-Dobro duo -- and maybe add a guitarrón mexicano and a cajon to hold down the rhythm section.

I found my version of one note samba from more than 10 years back. I slid around a bit too much and didn't have the constant "one note" melody on top that defines the song but I like the improv and it reminds me how rusty I am right now.

Latin on steel guitar...I don't know if this qualifies, but Jules Ah See on Alfred Apaka's version of Dahil Sa Iyo...he doesn't really take a lead on this track but he's constantly playing fills and it has a kind of latin groove (the song is Philipino in origin...given the colonial implications, not without Spanish influence). I don't know enough about Latin jazz to say whether this is bossa or whatever specific sort, but to my ear it feels pretty Latin!

He's quite obviously playing pedal here, on his Fender 1000. A favorite track of mine._________________Waikīkī, at night when the shadows are falling
I hear the rolling surf calling
Calling and calling to me

Michael Hillman

From:Boise, Idaho, USA

Posted 26 Jun 2019 8:25 pmI echo what other have said....very well done!

Thanks for the kind words, Michael. Go for it! And, Nic, thanks for opening my ears to the beautiful Dahil Sa Iyo and the fusion between Hawaiian and Latin music (via Phillipines,as you suggest). It made me think how Latin music found it’s way into 50s-60s pop and rock (La Bamba, Besame Mucho), and how the best became a bedrock of New Orleans piano style (Prof. Longhair). People talk about “world music” as if it’s a new thing but it’s been percolating for decades and Hawaiian steel is right at home in it!

David Matzenik

From:Cairns, on the Coral Sea

Posted 29 Jun 2019 2:03 pm

Hi Nelson, very nice playing. Obviously, blocking is necessary in this type of tune. If I may ask, which method do you use?_________________Don't go in the water after lunch. You'll get a cramp and drown. - Mother.

Nelson Checkoway

From:Massachusetts, USA

Posted 30 Jun 2019 6:12 pm

Thanks, David. Regarding my blocking, I use mostly palm blocking. I play an 8-string with high C6 tuning and I tend to anchor my little finger around it just above the high G keeping the outer edge of my hand very close to the strings to drop and mute (maybe 1/4” away). I occasionally block with a pick—usually only at the end of phrases—and, even then, I tend to drop my palm as well.

Michael Hillman

From:Boise, Idaho, USA

Posted 5 Jul 2019 4:17 pmThanks again for this thread, Nelson

Just wanted to thank you again for this thread, I'd not thought about this beautiful song, and how well it could lay out in C6 tuning. My version isn't nearly as polished and complete as yours, but basically I've laid it out here

Michael- very nice job on “Wave!” I like how you give the opening bars a laid back feel with a few moments of hesitation. Well done and, again, it’s nice to hear it played on a resonator guitar that gets even closer to acoustic Latin roots. And beautiful job on “Teardrop”. You nail the harmonics!! Yes C6th tuning is so versatile for these and many others styles. Thanks again for sharing via this thread.

Michael Hillman

From:Boise, Idaho, USA

Posted 7 Jul 2019 6:08 pmThanks Nelson!

Thanks Nelson, I’m just a bass player that fools with way too many other instruments- but since retiring 6 years back, I’ve had more time to focus on learning a little lap steel and Dobro. I play a lot of G Dobro tuning, but I’m always looking for interesting arrangements in C6, and I just purchased Andy’s book of 20 Dobro arrangements, some of which are in tunings I’ve never explored....pretty exciting stuff!_________________Two Fender fretless Jazz Basses, Martin D-18, Martin DXK2, Taylor 812CE, Gretch White Falcon, 1944 Epiphone Zenith, a killer Luttrell 6 string resophonic, 1932 Model 56 Dobro, Beard Model E, Benoit 8 string, converted to 6 string resophonic, Martin Soprano Uke, 1948 Rickenbacker NS, a 1954 Fender Professional Dual Six, in the hands of a rank amateur, 1972 Dobro model 66, Peavey Nashville 112, Fender Bassman, Fender 75 watt Rumble, and a Fender 100 watt Rumble.